. . . her silvery tone and searching musicianship ensure maximum intelligence and beauty . . . simple, unaffected magic . . . [Concerto]: splendidly played by a soloist in happy harness with the London Philharmonic and Vladimir Jurowski, a conductor who understands Prokofiev's changing moods better than most . . . equally gripping accounts of the Sonata for Two Violins of 1932 and the dark and worried Sonata for Violin and Piano . . . Itamar Golan (piano) and Boris Brovtsyn (violin) play with Jansen as if joined at the hip. Whether the music's fiery or delicate, this superb disc, gorgeously recorded, should give lasting pleasure.

Record Review /
Geoff Brown,
The Times (London) / 05. October 2012

Jansen's playing is utterly beautiful and intelligently searching.

Record Review /
Stephen Pettitt,
The Times (London) / 07. October 2012

The characteristic, broad, vaulted lyricism of the concerto is hauntingly expressed by Janine Jansen, notably in the slow central movement where it is underpinned by the insistent orchestral ticking that is eerily evoked by the London Philharmonic under Vladimir Jurowski. He judges the variety of weight and the palette of colour in the orchestral sonority ideally, and is ready with the essential instrumental dialogues with the soloist in the finale . . . this penetrating, luminous and dynamic interpretation is one to linger over . . . [First Sonata]: [the two are] conveying the music's dark, ominous undertones, its mellow reflectiveness and its fierce, nervous energy.

Janine Jansen is the most subtle of interpreters, and always a sensitive partner. In the Second Violin Concerto, she keeps sentiment at bay, holding back for a sense of mystery in the first movement's counter subject, and capturing an icy purity in the Concerto's central song. She responds cannily to Prokofiev's pared-back orchestral forces. This is not the usual patchwork of ideas, but an argument that Vladimir Jurowski keeps urgently on the move with the LPO soloists . . . Jansen's colleagues in the companion pieces are her equals, too. Boris Brovtsyn marches her otherworldly poise in the first and third movements of the Sonata for two violins. In Prokofiev's dark, masterful Violin Sonata No. 1, the moments of headlong attack are . . . fully realised by pianist Itamar Golan.

Record Review /
David Nice,
BBC Music Magazine (London) / 01. January 2013

This splendidly recorded performance of the Second Concerto accentuates its stark and sudden contrasts -- the first movement's swings of mood and texture, the Andante's pairing of romantic melody with mechanical accompaniment . . . Jansen's playing, notable for its confident manner and wide expressive nuance . . . persuades us of the validity of her view of the concerto . . . In the Sonata for two violins, Jansen and Brovtsyn employ a wide range of tone colour, matching each other in expansiveness and virtuosity. In the quicker movements they allow the tempo to slow down for quieter passages . . . For me, the highlight of the disc is the Violin Sonata, surely one of Prokofiev's greatest works. Its sombre power is fully revealed in Jansen and Golan's account, from the first movement's anguished double-stopping, brittle pizzicato and icy scale passages, through the ferocious combat and sweet regret of the two middle movements, to the finale's manic energy and intensity.

Record Review /
Duncan Bruce,
Gramophone (London) / 01. January 2013

Janine Jansen's dazzling performance of Prokofiev's second violin concerto is a sensational start to a thoughtfully planned disc.